The monster jam session at the Bradford Sunday was too often just monstrous. Considering that the affair was a daring experiment, it was by no means a disappointment. Close to a thousand people proved beyond any doubt that there is a large audience for jazz in Boston, provided, of course, that the jazz is of a well established variety.

The trouble with having so many stars is that you have to have a lot of paying customers, and while the grand ballroom of the Bradford has the capacity, it hasn't the acoustics. Fortunately for the soloists, there was a microphone, but the ensembles were a horrible jumble and General Morgan's piano was inaudible. Nor did having to perform on a stage help the musicians to create the intimate atmosphere so necessary to jazz.

"Red" Allen was the biggest bringdown, with his cheerleader antics and vaudevillian approach. As usual he played some very trashy trumpeting, but when he restrained himself, he turned out a few choruses that were very moving.

Coleman Hawkins was the real hero of the day, practically saving the session singlehanded at a time when it looked as if it would be a ghastly mess. Without any apparent warming up, the "Hawk" launched into a terrific chorus and thawed out the audience. He played very restrainedly, without forcing his tone as he did when he first returned from Europe. As for the "Hawk's" ideas, they're more than any five men have the right to have.

By the sheer force of his tone. Pete Brown got even more applause, though he often overworked his ideas, which were none too prolific. He did play better than any time I'd caught him at the Ken, and his tone is as amazing as ever.

J. C. Higginbotham was very off-and-onish. One moment he'd blow an amazing chorus, and the next would be the same old jive. From some of the weirder stuff, it sounds as if Higie is trying to change his style.

With careful managing, the next session in two or three weeks should be much better. The Bradford will never replace the Ken for intimacy, but then again, the Ken has Russ Howard and those five fugitives from Albertina Rasch.

At the latter place Bill Davision is playing as remarkably as ever. The band is more at ease and the various styles of the soloists fit together better now. Sandy Williams' tromboning has improved particularly.